The Baltimorons marks Jay Duplass’s first feature film without his brother Mark Duplass since 2008. Now, 17 years later, he joins newcomer Michael Strassner, and they prove to be a great writing pair, with Strassner also starring as the main protagonist. Together, the two construct a very charming and funny film that does not shy away from the dark parts of life.
The story follows Cliff (Strassner), a newly sober man whose Christmas Eve is interrupted by a dental emergency. After sparking an unexpected romance with his older dentist, Didi (Liz Larson), the two explore Baltimore together on Christmas Eve. As I was watching this, I couldn’t help but fondly think of classic rom coms—When Harry Met Sally (1989), Pretty Woman (1990), Notting Hill (1999), As Good as It Gets (1997), Harold and Maude (1971), and even Licorice Pizza (2021). It’s the type of film that we are waiting to make a comeback in the current film landscape. Jay Duplass gives us that with The Baltimorons.
The script blends seamlessly with the different tones they are trying to tackle. The dark aspects of suicide, the hardships of sobriety, how we deal with those hardships, and how we have to realize that those hardships shouldn’t define us. Duplass and Strassner balance these ideas with humor effortlessly; it’s not a joke-a-minute style comedy, but when the jokes are used, they land extremely well. This is due in part to how beautiful Strassner’s performance is and how well Liz Larson complements him.
Perhaps starting off slow, The Baltimorons wraps you in its arms, and by the end, you care considerably about these two’s growing relationship. Both begin to open up to each other, sharing their most uncomfortable thoughts. In these moments, though, the charm also shines through, and they lift each other up to realize that life isn’t so bad.
These moments of realization and openness make Duplass such an interesting writer, and while this is my second Duplass film, he still hits his hallmark charm well. What makes Duplass such an interesting writer is that the characters he creates for these narratives feel as if you would meet these people on the street at any given moment. They feel so lived in with their own quirks and interests; being able to convey this feeling without a lot of history or setup of the characters makes it special.
The direction from Duplass is quiet and commanding; he knows exactly how much time should be spent on each moment so that it doesn’t feel manipulative or shlocky. Not every director can do that, and it shows how incredible Duplass is at staging scenes. It’s the earnestness and characters wearing their hearts on their sleeves that make these moments feel lived in. They never feel like clichés we see in countless other movies in this genre.
The atmosphere that Duplass creates is a highlight of the movie. Most of the lighting is done using Christmas lights, and they bring great warmth to each scene. The Christmas setting, showcased in the production design, helps build coziness and comfort as we deal with the most difficult emotions.
The Baltimorons expands to more theaters on September 19, and it would be a shame if you missed this one. Showcasing Strassner’s talents, it is exciting to see where his career will go. This film is a welcome reminder that no matter what life throws at you, there will always be people around you to offer support in the most unlikely of ways. It’s a great feeling to achieve and one that I will always welcome in any movie I see.
Review Courtesy of Jacob Diedenhofer
Feature Image Credit to IFC Films via The Hollywood Reporter